Does your video editing app offer any of the required tools? That is because cross-platform compatibility is decreased if it is changed manually. In my experience, it is best to have it encoded directly with the M4A extension, not to change it manually later. This is true whichever version of AAC you may use. Which AAC file extension is best for audio podcasting?Īlthough AAC audio files may exist with many different extensions, the only one that I know to work properly for audio podcasting is M4A. Any portable player that fully supports the Rockbox third party firmware.PlayStation Portable (PSP) with firmware 2.0 or greater.Cowon (unofficially supported on some models).In fact, AAC also plays on the following devices too according to this article. With the newer AAC-HE (high efficiency), I can get a file that’s half the size of the equivalent MP3 with equal or better sound quality.ĭespite many naysayers who are factually wrong, AAC indeed plays fine on Android devices, Apple devices, Chromebooks, iPods, the old iTunes app, Windows 10 devices and more. AAC is a win-win and I’ve been using it for years for my podcasts, as have my clients’ podcasts. In the case of HTTP Streaming (aka quasi streaming), the lighter AAC files will require less bandwidth to stream smoothly and will consume less data in case your listeners don’t have true unlimited data. That means smaller files which take up less space on the producer’s computer, on the server and on the listener’s device if the listener downloads it. Its main benefit is that it is more efficient, meaning that compared with MP3, it gives us higher audio quality at lower bit rates. Despite popular myth, the A does not stand for Apple, nor was it invented by Apple nor is it an exclusive Apple format. AAC is the audio used within all H.264 files. In case you didn’t get the memo yet, MP3 has been obsolete since 1997. (In fact, it also has the loudness normalization and encoding mentioned above too.) For now, I still do it with my own shows that I syndicate as podcasts, for now, since my preferred editor for audio production has that capability built-in. However, this is still good to have in case anyone ever downloads the standalone audio file. This is also true because a small percentage of podcast listeners now download the standalone audio file as they did at the beginning of audio podcasting. This is less important today than it was before, since most modern podcatchers grab these items from the RSS feed, not from the metadata in the audio file. Before uploading the audio to the host, you may add a graphic and metadata text to the audio file.Listen to my most recent episode of BeyondPodcasting about rich episode notes (including bold, italics, human links and images) and its visibility in different podcatchers. Get the audio on the online host to be included in the audio podcast RSS feed, ideally with good, rich episode notes which are important both for the human experience and for SEO.Get the audio at in the ideal códec for audio podcasts, at the ideal bit rate for quality and efficiency.For a mono show, the de facto standard is -19 LUFS. There are some platforms and people that prefer -14 LUFS, but I can barely hear the difference between -16 and -14 LUFS with my headphones, so I wouldn’t lose any sleep between -14 and -16 LUFS. For a stereo show, the de facto standard is -16 LUFS. Get the audio at the ideal perceived loudness for audio podcasts, which is measured in LUFS.The edited video master of each episode must already have consistent audio within itself. Does your video editing app already offer any of the required tools?.Ahead, I’ll clarify all of that, and the ideal tools to use, since my client had very poor tools for this task before I helped him. Optionally, a graphic and textual metadata may be applied to the audio file before it is added to the server to be part of the audio podcast RSS feed. It should also be at the ideal perceived loudness level in LUFS for podcasting. There is much more involved than just extracting the audio, since it must end up in the ideal audio códec, with the ideal bitrate and quality. (Previously, he had been doing it wrong, and it had been suffering.) The first thing that I did was to define all of the obligatory and optional goals involved in this task, since they are not immediately obvious to many producers. Recently, I helped a client learn how to extract audio from his video master for use in an audio podcast of the same show.
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